[Music illustration]

There were, no doubt, respecters of tonality also in Emanuel Bach's
day, to whom such free measures must have seemed foolhardy. While
composing this sonata Bach was, apparently, in daring mood. The slow
middle movement in D minor opens with an inversion of the dominant
ninth, and the Finale in F thus--

[Music illustration]

Of the character of the first section of movements in binary form we
have already spoken in the introductory chapter.

In the matter of development, the Bach sonatas are in one respect
particularly striking; the composer seems to have resolutely turned
away from the fugal style, and in so doing probably found himself
somewhat hampered. Like the early Florentine reformers, Bach was
breaking with the past, and with a mightier past than the one on which
the Florentines turned their back; like them, he, too, was occupied
with a new form. Not the music itself of the first operas, but the
spirit which prompted them, is what we now admire; in E. Bach,
too,--especially when viewed in the light of subsequent history,--we
at times take the will for the deed.

We meet with much the same kinds of development as in Scarlatti:
phrases or passages taken bodily from the first section and repeated
on different degrees of the scale, extensions of phrases, and
passage-writing based on some figure from the exposition, etc. The
short development section of the Sonata in G (Collection No. 6) offers